Bono and Edge on Howard Stern

Bono and Edge on Howard Stern
“I just lifted up the drums to expose the fact that he was hiding there. But when their drummer Larry Mullen Jr. Performing “You’re The Best Thing About Me”:

The entire interview can be found here. He told Howard he went years without listening to U2’s best-selling album “The Joshua Tree.”
“I find it excruciating to listen to those songs,” he explained. “He says I threw the drum kit at him but actually I threw them away from him,” Bono said of his onstage reaction. It’s unclear who exactly won the fight, but Bono gave Howard this piece of advice:
“I can tell you never pick a fight with a man whose hand-to-eye coordination is his living,” Bono joked about taking on his mate the Edge. A few highlights follow:
On their one and only physical fight:
It was a small gig at a nightclub that turned into a big deal after they found out the Talking Heads would be in the audience. It was quite the road of life covered over the course of the interview. U2’s most talkative pair, Bono and Edge, made their first appearance on the Howard Stern Show. He was actually, I think, doing something very sensible like fixing his pedal.”
“I seem to remember you were playing the drums with your microphone as a sort of form of encouragement,” the Edge said with a laugh. All the two would say in terms of what occurred that night was that the Edge had to step in and get physical with Bono after Larry fled from the stage. stopped playing in the middle of their performance in order to fix something wrong with his kit, Bono lost his cool. They perform “Sunday, Bloody Sunday”:

Bono on listening to himself sing:
Even harder for Bono, though, is revisiting some of his earlier performances and recordings. “I don’t like the sound of my voice on a lot of the stuff.”
According to Bono, many of his vocals on the album sound “squeezed.” “The music’s magnificent and the tunes are great and some of the lyrics are okay, but the voice, it’s like, God, spare me the voice,” he said of his own singing.

And the Highest-Earning Musician of 2017 Is…

And the Highest-Earning Musician of 2017 Is…
…Diddy. 1” album)
Taylor Swift ($44 M)
(Cash cows: Endorsements, catalog)
Kenny Chesney ($42.5 M)
(Cash cows: Touring, “Cosmic Hallelujah” album, Corona and Apple deals)
Luke Bryan ($42 M)
(Cash cows: Touring, Outdoor Channel reality show Buck Commander, Cabela’s and Miller Lite endorsements)
Celine Dion ($42 M)
(Cash cows: Touring, Las Vegas residency)
Jay-Z ($42 M)
(Cash cows: $200 million Live Nation deal)
Bruno Mars ($39 M)
(Cash cow: Touring, “24K Magic” album)
Tiësto ($39 M)
(Cash cow: Touring)
The Chainsmokers ($38 M)
(Cash cows: Touring, “Memories… Do Not Open” album, streaming)
Jennifer Lopez ($38 M)
(Cash cows: Las Vegas residency, “World of Dance” TV show) Note the number of Canadians in the Top 20. (Via Variety)

Diddy ($130 M)
(Cash cows: Bad Boy Family Reunion Tour, Ciroc vodka deal, estimated $70 million sale of one-third of Sean John fashion line)
Beyoncé ($105 M)
(Cash cow: Formation tour)
Drake ($94 M)
(Cash cows: The world’s most-streamed artist, Boy Meets World tour, deals with Apple, Sprite and Nike)
The Weeknd ($92 M)
(Cash cows: 5.5 billion streams in two years, touring)
Coldplay ($88 M)
(Cash cow: Head Full of Dreams tour)
Guns N’ Roses ($84 M)
(Cash cow: Not in This Lifetime tour)
Justin Bieber ($83.5 M)
(Cash cows: One billion-plus streams, Purpose tour, Calvin Klein endorsement)
Bruce Springsteen ($75 M)
(Cash cows: The River tour, “Born to Run” memoir)
Adele ($69 M)
(Cash cow: “25” album and tour)
Metallica ($66.5 M)
(Cash cows: WorldWired tour, “Hardwired… To Self-Destruct” album)
Garth Brooks ($60 M, tie)
(Cash cows: Touring, “The Anthology Part 1” book and boxed set)
Elton John ($60 M, tie)
(Cash cow: Touring, Las Vegas residency)
Paul McCartney ($54 M, tie)
(Cash cows: Touring, Beatles and solo catalogs)
Red Hot Chili Peppers ($54 M, tie)
(Cash cows: Touring, “Getaway” album)
Jimmy Buffett ($50.5 M)
(Cash cows: Margaritaville franchises, including hotels, restaurants, merch)
Calvin Harris ($48.5 M)
(Cash cows: Touring, “Funk Wav Bounces Vol. Forbes took a look at estimates of pre-tax income from June 1, 2016, to June 1, 2017, and is before everyone (managers, agents, lawyers, etc.) take their cut.

Some of These Holiday Gift Ideas are Cool. Others are…Questionable. 🤓We’ve spent many many moons working on these products and are absolutely thrilled with the final results.😀 Go check em’ out!   THOSE EYES! The Internet has made Christmas shopping a lot more interesting. I can’t even begin to imagine–oh, wait. #handsolo #darthvibrator
— Geeky Sex Toys (@Geeky_Sex_Toys) December 4, 2017

I hope you noticed the C-3PO butt plug. David Bowie Christmas Peg
Just in case you wanted something a little more normal. I did. And unusual. Star Wars-Themed Sex Toys
Is this stuff officially licensed? OMG! Candian Pop Culture Onesies
Sized for both kids and adults, you can now drift off to sleep covered in everyone from Geddy Lee to Justin Bieber. Available now🛒! A long time ago, in a fantasy far far away….  
2. For example…
Others are…Questionable. Some of These Holiday Gift Ideas are Cool.

Random Music News for Friday, December 8, 2017

Random Music News for Friday, December 8, 2017
Because you know you want one. There’s a metal festival set for April in downtown Las Vegas in April. Apparently. Here’s a fun game to play: Predict the next goofy/dangerous/reckless/unnecessary thing Donald Trump will do to piss off the rest of the world. Here’s a deliberately ugly George Michael Christmas sweater. Tom Morello, Michael Stipe and other musicians have come out in favour of protecting net neutrality. Progress: an all-female concert in Riyadh, Saudi Arabia…
…and an all-female version of Jesus Christ Superstar. That’s what, 30-40 posthumous albums? The history of Mariah Carey’s “All I Want for Christmas is You.” Click if you dare. Imagine your parents splashing out to have this musical entertainment at your 18th birthday party. Deezer wants to help. As you thinking about that, here’s some music news for December 8. There was more unreleased Jimi Hendrix material? If you’re an Elvis Costello fan, you’ll want to read this. Japanese music fans can be very picky about the audio quality of their music. Just $4 million USD. Can you imagine what the security is going to be for this thing? There’s a strange campaign to get Taylor Swift to denounce Donald Trump. New York firefighters found some weird stuff in a nightclub. Here’s an interesting battle between a Toronto music teacher and a principal. And the winner of Colour of the Year for 2017 is…Prince Purple! You can help protect against dementia by playing Super Mario 64? We may soon be able to talk to the dolphins–or at least eavesdrop on them.

Nirvana Reunites at a Foo Fighters Show (Sadly, Kurt Was a No-Show)

Nirvana Reunites at a Foo Fighters Show (Sadly, Kurt Was a No-Show)
  The living members of Nirvana–which is to say Dave Grohl, Krist Novoselic and touring guitarist Pat Smear (long a Foo, of course but worked as a regular with Nirvana from 1993) appeared onstage together a show in Oregon to play a rendition of “Big Me.” The last time something like this happened was in 2014 when Nirvana was inducted into The Rock and Roll Hall of Fame.

New Collaboration Aligns Traditional and Digital Reporting

You can read the hole story at Music Canada. With this game-changing initiative by Bell Media, the automation of the existing music content distribution tool allows the industry to streamline sound recording data within the Canadian music ecosystem. Advancements in cross-platform reporting have ushered in a new era of cooperation between Canada’s music and media industries. One thing the music industry has struggled with in the digital age is how to report consistently between old and new technologies. The new system is part of an ongoing project to develop administrative efficiencies by Music Canada and Re:Sound. A new collaboration between Bell Media, Music Canada and Re:Sound is looking to resolve that issue. Cleaner data means clearer standards, which benefits everyone, including artists. Through consolidating multiple data sets, maximizing the use of ISRC (International Standard Recording Codes), and other improvements, the project has so far resulted in faster payouts and 28% more revenue for major labels and members of CIMA (the Canadian Independent Music Association). With the elimination of manual processes, the new reporting system has resulted in cleaner data, which significantly benefits all rights holders in the Canadian music industry including artists, background musicians, songwriters, and music publishers, through organizations (SOCAN, CMRRA, SODRAC, etc.) relying on broadcast data to get royalties to rights holders. Developed by Bell Media, Music Canada and Re:Sound, the new process aligns terrestrial broadcast data with digital, ensuring all music industry stakeholders are served with efficiency, transparency, and accountability, while setting a new industry standard for data reporting. Beginning with a successful pilot program of the new system by Toronto’s 104.5 CHUM FM in early 2017, Bell Media radio stations are now tracking complete sound recording data including ISRC automatically on new tracks from major record labels and independent label partners.
New Collaboration Aligns Traditional and Digital Reporting

Opinion: The Problem With Muzak

Opinion: The Problem With Muzak
There has been a ton written on the evils of Spotify and streaming in general. For Amazon Music, the motive is similar; they aim to sell Alexa devices and Amazon Prime subscriptions. Billionaires have thrown a lot of money at Spotify. It’s a fascinating read. This means one thing: playlists are king, and particularly the ones curated by Spotify itself. Yet for now it has manipulated the vast majority of music industry “players” into regarding it as a saving grace. Head over to The Baffler for the whole discussion. As the world’s largest streaming music company, its network of paying subscribers has risen sharply in recent years, from five million paid subscribers in 2012 to more than sixty million in 2017. Bloomberg reports that it recently hired Goldman Sachs Group Inc., Morgan Stanley, and Allen & Co. This is what lies behind the “magic” of Spotify. This article from The Baffler takes a deep dive into what it sees as the issues right now. The company could be worth $20 billion by next year, when it will likely be listed on the New York Stock Exchange. For Apple Music, the bottom line is selling iPhones, laptops, iPads, and other hardware. As of September 2017, the platform has been valued at $16 billion by venture capitalists who see it as the next Netflix, and who have perhaps fooled themselves into trusting that this exploitative model will “save the music industry.” Spotify’s endgame, for now, is to go public. to “assess its options.”
So what could wrong with the over-automation of curation? An unprecedented amount of data (“skip rates” and “completion rates” determine whether a song survives) and “human-machine technology” are deployed to quantify your tastes. In fact, it only exacerbates such conundrums. Streaming music makes those products more valuable. The music world continues to be exceedingly vulnerable, and there are looming questions that desperately need to be addressed. Enter Spotify, a platform that is definitely not the answer. Most important: How can artists distribute and sell their work in a digital economy beholden to ruthlessly commercial and centralized interests? What could go wrong? regulators before the end of this calendar year and to go public in the first or second quarter of 2018. But Spotify’s worth is more ephemeral. Indeed, the platform has now convinced a critical mass that paying $9.99 per month for access to thirty million songs is a solid, even virtuous idea. Its value—what makes it addictive for listeners, a necessity for artists, and a worthwhile investment for venture capitalists—lies in its algorithmic music discovery “products” and its ability to make the entire music industry conform to the new standards it sets. Yet, despite its conventional market viability, there are key differences between Spotify and its rivals, Apple Music and Amazon Music, which both have the luxury of capitalizing on overpriced, fun-sized plastic and metal surveillance machines. The focus, for the most part, is about how and how much the artists get paid. According to Reuters, Spotify plans to file its intention of a public offering with U.S. Every song in the world for less than your shitty airport meal.

WAR! YouTube to Launch a Spotify Rival in 2018

More details here. Or GPM could be wholly integreated into Remix and disappear completely. After all, the Google Play Music staff were consolidated under YouTube earlier this year. We’ll see soon enough. Like I said, Google/Alphabet’s approach to music has been anything but coherent or consistent. “Hang on,” you say, “but Google/Alphabet already has a streaming music service called ‘Google Play Music.’ What will happen to it?”
Maybe nothing. The two biggest entities in the world of streaming are YouTube and Spotify. That seems more likely. Rumours say it will be a paid Spotify-like service with video clips. I’m not sure what that means or how that’s different what the music YouTube offers now, but whatever. While Spotify has concentrated on just audio, YouTube is about…well, everything and anything.   And while billions get their music fix via YouTube, the platform’s music strategy has been anything but coherent or easy to understand. Now, though, YouTube has plans to take on Spotify directly with a streaming service code-named Remix sometime in 2018.
WAR! YouTube to Launch a Spotify Rival in 2018

This Was the Biggest-Trending Music Video on YouTube This Year. No, Really.

Ever hear of The Mask Singer? With 183 million views, the clip has an unbelievable 94% thumbs-up rate. What else trended super-high in 2017? The concept is simple: Singers compete while fully masked and in crazy costumes. Go here. This clip, “Until We Will Become Dust” by Oyster Masked, taken from the Thai edition, trended higher than any other video on the planet. Their identities are only revealed when they voted off the show. It’s a strange singing competition in South Korea, Thailand, Vietnam and China.
This Was the Biggest-Trending Music Video on YouTube This Year. No, Really.

Dead Industry Radio: A nickelodeon for the 21st century

Will this really represent the future of the music industry? This would represent “a 900% increase in revenue for songwriters,” Dead Industry Radio’s website says. Similar to other websites like Bandcamp, BandsinTown and others, fans can track the artists they like to get notified when new songs are available. In movies and TV shows depicting life in the rosy-cheeked 1950s, teeny boppers were always feeding nickels into jukeboxes to hear the songs they loved. Band Bonus funds can also be used on studio or video production time. Dead Industry Radio describes itself as a “music-based social media website…designed to provide an alternative to the current music industry.” All users sign up as “fans” initially, one of six account types offered— the others include Bands, Hosts (think venue management), Studios, Manufacturers (hardware/software makers) and Video Service (recording and editing companies)—and solo musicians can affiliate with other Band accounts as applicable to ensure proper division of royalties without having to do the math themselves. Bands can also use the platform to create and send newsletters to fans. And if a fan wanted to pay more for a song, or to otherwise financially contribute to artists they enjoy, a “donate” button will be available, giving the fan the option of paying more than half a cent per stream. On the surface, this sounds like another way for musicians – independent musicians especially—to try to break into public knowledge in an era where everyone’s talking about blockchain and feeling ripped off by streaming. It offers a lot of the same services as other wholly digital operations aimed at musicians and performers but does seem to have a slightly broader reach. An online master scheduler makes it easy to see which artists are on tour when and where they’re going. Record studios, audio hardware/software manufacturers and music video recording/editing companies will have their own related and dedicated account,” according to the company’s website. Instead of buying into a performance rights system or artists getting paid through a convoluted chain of royalties and rights and the like, Dead Industry Radio would pay artists half a cent per play or stream. Will fans literally buy in to the idea of paying their favourites directly? This amount will be evenly divided among the bands and can be allocated “internally toward industry companies that have a Dead Industry Radio account. That’s where the term nickelodeon comes from, despite what the cartoon and live-action children’s network that used to play classic sitcoms would have you believe. Bands who sign up with Dead Industry Radio will receive a statement each month, their Band Bonus, spelling out the money they’ve obtained from ticket sale surcharges. Stay tuned. “Musicians currently receive roughly $0.0005 (five percent of a cent) per song stream or radio play, after all is said and done.”
The operation’s goal is clear and plainly stated: “Dead Industry Radio aims to provide an alternative to the music industry, and eventually replace commercial radio in its entirety.”
There are other elements to this proposal, including ways for bands and solo musicians to directly promote their music to fans, sell tickets and organize tours. Will this gain a toehold among artists? If a band or company sells merchandise through the platform, bands can use their Band Bonus toward purchases at a discounted price. Dead Industry Radio goes back to that concept but with a digital twist. Meet Dead Industry Radio, a new enterprise based in Brampton, Ontario, that wants to pay musicians for each stream or broadcast of their songs.
Dead Industry Radio: A nickelodeon for the 21st century

An American Music Fan Laments the Loss of his Beloved Tragically Hip

Discovering a band at a local music club has given way to discovering pop artists on YouTube. With the exception of a Saturday Night Live appearance and a berth at the ill-fated Woodstock ’99, awareness of the Hip stopped cold at the Canadian border. This was not how culture operated. Kids’ programs like Mr. The MTV of my youth trafficked in music enough that I could trust that I was on the receiving end of the same stream of popular culture as everybody else in the country. Keep reading. It’s not like I grew up on the horse-and-buggy/telegraph times, either. So few things remain tucked away in their little pockets of America. Growing up in the border city of Buffalo, New York — where, in a quirk of geography, Canada (Fort Erie, Ontario, specifically) lies to the west as well as the north — and being privy to Canadian broadcast channels, we were privy to some Canadian-only content, but these were small shows. So did Martin Short, Jim Carrey, and Sarah Polley. Alanis crossed the border. Most of America proved immune (or ignorant) to the charms and talents of the Tragically Hip, but there was a sizeable number of fans in border cities like Buffalo and Cleveland. No more public-access TV shows that only you and the people you grew up alongside will remember in a decade. Facebook and Twitter and podcasts and the interconnectedness of the globe mean you’re as likely to discover a band from Sacramento as you are one from down the road in your Massachusetts town. This is from Decider. Dress-Up. There’s almost no such thing as local culture anymore. Modest TV hits like Due South. With one incredibly notable exception: the Canadian rock outfit called The Tragically Hip. Joel Reid was one of them. The idea that a band like the Tragically Hip could be the biggest band in the country a twenty-minute drive away from us and yet utterly anonymous an hour south. What’s always been notable about that isn’t that there was never much crossover into the States, but that the band could be as massively, nation-dominatingly popular as they were in Canada while remaining virtually unknown in America.
An American Music Fan Laments the Loss of his Beloved Tragically Hip

7 Days, 7 Questions: Day 5

7 Days, 7 Questions: Day 5
When I lost the last of vinyl in a basement flood, I was devastated. I still follow him and he’s still making amazing music. Let’s explore some of this passion we have for music. All this week I’ll be asking some questions, sharing my thoughts and, hopefully, hearing from you! This particular song was a collaboration with Bill Sharpe. This 12″ single called “Change Your Mind” was something I cherished and would pull out to surprise the odd music aficionado who would cross paths. I can only post the single here because, for the life of me, I cannot find a picture of the packaging I had

I’m sure most of you know or knew Gary Numan (he of “Cars” fame). It was something that got radio play but for whatever reason stuck to me. What piece of music did you own (album, single, vinyl, cd or any other media) that you no longer have that you wish you still had? So how about you? Your feelings of loss can be memory or collectibility or whatever! I think that made sense! I still love the song.

The Ongoing History of New Music, Episode 804: Remembering Chester Bennington, Part 3

The Ongoing History of New Music, Episode 804: Remembering Chester Bennington, Part 3
Songs heard on this show:
Linkin Park, The Catalyst
Linkin Park, Burn It Down
Stone Temple Pilots (with Chester Bennington), Interstate Love Song
Linkin Park, Until It’s Gone
Chris Cornell and Chester Bennington, Hunger Strike
Linkin Park, Iridescent/The Messenger
Here’s Eric Wilhite’s playlist for the program. This is the third and final part of our remembrance of Chester Bennington. They also had time to indulge in all kinds of side projects, some musical, some not: remix albums, soundtracks, movies (DJ Joe Hahn had started to direct films!) Not a bad position to be in for a bunch of guys in their 30s, right? In the ten years since the band was formed, they’d sold over 80 million albums, They had millions of fans all over the world. They had a plan: a minimum of one new album every eighteen months. If anyone were to assess the state of Linkin Park around 2011, there would be no reason to conclude that things with the band were anything but fantastic. Everything was on a schedule that they, not their record label, set out. Sonic 102.9/Edmonton
The Zone/Victoria
The Fox/Vancouver
Live 105/Halifax
NEW! But if anyone had taken time investigate what was really happening to Chester Bennington, there might–might–have been some warning signs that something was wrong. They were in firm control of their career in terms of creative control and direction. Or maybe those signs were completely invisible, totally undetectable. Don’t forget that you can get the podcast version of this podcast through iTunes or wherever you get your on-demand audio. WAPS/WKTL The Summit/Arkon, Canton, Cleveland, Youngstown

We’re still looking for more affiliates in Calgary, Kamloops, Kelowna, Regina, Saskatoon, Brandon, Windsor,  Montreal, Charlottetown, Moncton, Fredericton, and St John’s and anywhere else with a transmitter.   If you’re in any of those markets and you want the show, lemme know and I’ll see what I can do. But in hindsight, something was definitely going on inside Chester’s head, something that would end tragically about six years later. The Ongoing History of New Music can be heard on the following stations:

102.1 The Edge/Toronto – Sunday night at 7
Live 88-5/Ottawa
107.5 Dave-FM/Kitchener
FM96/London – Sunday night at 7, Monday night at 11
The Drive/Kingston
Power 97/Winnipeg (Sunday nights at 11)
98.1 The Bridge/Lethbridge – Saturday night at 6, Sunday morning at 10am
Rock 97.7/Grand Prairie – Sunday nights at 6.

Report: Apple to Buy Shazam

Shazam, the cool music identification app that got its own game show, is apparently soon to become an Apple property. (Via TechCrunch) Around $400 million. Apple is currently the #2 streaming music service in the world, but they trail Spotify by a wide margin and are facing competition from the rear from both Google (which made news of its own this week in the streaming sphere) and Amazon (which now has a live streaming service in about three dozen countries). But what sort of strategic use will Apple have for Shazam? The price? If all goes according to plan, the purchase announcement will be made Monday. And with Spotify heading to its IPO, Apple needs to bulk up on its music abilities. That’s still TBD. Okay, fine.
Report: Apple to Buy Shazam

Random Music News for Saturday, December 9, 2017

Random Music News for Saturday, December 9, 2017
Dr. Here are the top ten new podcasts in the US for 2017…
…and the overall top 20. (No Ongoing History here. More on that here. Were you ever into straight edge hardcore? More on the streaming wars: Amazon’s streaming service just went online in 28 more countries…
…and the new YouTube service (codenamed “Remix”) should be online by March. Then this new book is for you. But we’ve heard that line before…
The Ontario government is thinking about creating an official position of Poet Laureate in memory of Gord Downie. Must have been a data error…)
Another good list: The top performers on SoundCloud in 2017. Chester Bennington’s widow is super-pissed at the LA County Corner and TMZ for publishing a suicide attempt story about Chester that she says isn’t true. A fun list: Superstars who offered up songs for movie soundtracks only to have them rejected. Dre still claims to be embarrassed by his musical past. And now, some music news for December 9. Vaccines. Tool drummer Danny Carey says there will “definitely” be a new album in 2018. On this day in 1979, it was announced that that smallpox virus, a disease that killed and disfigured untold millions, had been eradicated. What did it?